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RAISED ROOT
Chords constructed on the raised tonic, supersonic (in major), subdominant, and dominant scale degrees were previously identified as secondary leading tone chords.

CHAPTER 16
Augmented Sixth Chords

The augmented sixth chords are named Italian, French, and German. Augmented sixth chords are often identified using an abbreviation of their respective names. Augmented sixth chords progress to a dominant chord or to a tonic six-four followed by the dominant chord.

The dissonant augmented sixth interval normally occurs in outer voices and resolves to the dominant octave. Tendencies of the chromatically altered notes must be followed. Commonly used approach chords are supersonic, subdominant, or submediant chords.

ITALIAN
The Italian sixth is constructed on the raised subdominant scale degree and is used in first inversion with doubled fifth. It is analyzed and figured as

FIGURE 16.1. The Italian Augmented Sixth
FRENCH
The French sixth is constructed on the supersonic scale degree and is used in second 6 inversion. It is analyzed and figured as .

FIGURE 16.2. The French Augmented Sixth
GERMAN
There are two forms of the German sixth. The first is constructed on the raised subdominant scale degree and is used in first inversion. It will progress to the dominant chord in major or minor. It may also progress to the tonic six-four followed by the dominant chord in minor. It is analyzed and figured as . The parallel fifths that occur in resolving this chord to the dominant are acceptable, but they should not appear in the outer voices.

FIGURE 16.3 The German Augmented Sixth on the Raised Subdominant
The second form of the German sixth is constructed on the raised supersonic scale degree and is used in second inversion. It will progress to the tonic six-four followed by the 6 dominant chord in major. It is analyzed and figured as .

FIGURE 16.4. The German Augmented Sixth on the Raised Supersonic
Occasionally, other forms of augmented sixth are used in different inversions or are constructed on other scale degrees leading to other than dominant chords. The interval relationships must remain intact and chromatic tendencies must be followed.

 



 


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